This chapter analyzes films that feature chaotic words and images, including Jeanne–Pierre Jeunet's Amélie, David Lynch's Mulholland Drive and Mike Figgis's Time Code. There is a perpetual ambivalence between reading these works as post-modern paranoia, in which there is always the suspicion that things are not what they seem, that there is some hidden other truth which lies behind the surface of events, and as post-modern flatness, in which things are simply what they are — phenomenal surfaces — and there is nothing at all behind the surface.
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